Portfolio - Saran Kim

Page 1

Portfolio

Saran Kim

Works 2019-2020

Index

Curriculum Vitae

3: Tempo Rubato

Saran Kim

11: Patch of Habitat

hi.sarankim@gmail.com saran-kim.com sarankim.art

17: 3 x 3 x 3 Library

Education

Total Immersion Architecture Summer School February 2020 certificate no: SS20 | 494

20: Other Works Photoshop

Illustrator

Architecture Foundation Australia

The University of Melbourne

Rhino

Bachelor of Design (Architecture / Landscape Architecture) 2017-2019

Grasshopper

ABP Faculty Undergraduate Ambassador

2019

Paper cutting

AutoCAD

2019 Neil Fraser Award for Indigenous Flora in Landscape Architecture Dean’s Honours Award – Year 3 (WAM: 84.458)

Employment / Experiences

Student of Architecture Rara Architecture 2018 present

Peer Led Workshop Facilitator (S2) Design Studio Gamma Studio Tutor (S1) Foundations of Design: Representation

2020

InDesign

Model making

Awards

2018

Valedictorian at Conferring of Degrees (graduation) ceremony December 2019

Dean’s Honours Award – Year 2 Dean’s Honours Award – Year 1 32nd Dulux Colour Awards Finalist

Peer Assisted Study Session Leader Design Studio Gamma (2019 S2) Global Foundations of Design (2018/19 S1) Construction as Alchemy (2018 S2)

Leaders in Communities Award (The University of Melbourne)

Student Volunteer Cultural Collection Program

Selected for 2017 VCE Seasons of Excellence Top Designs exhibition

Work Experience Student John Wardle Architect 2014

Student Representative Student Organised Network for Architecture Vic Chapter Technical Tutor (2019 S1) Digital Design Tertiary Student Assistant Ivanhoe Grammar School Unimelb team member at Tongji Construction Festival

2017 Mater Christi College VCE (Baccalaureate) 2011-16

2

Tempo Rubato Design Studio Epsilon 2019 Semester 2 (3rd year)

Site Analysis: group work (Research: 25%, graphic representation shown: 100%) Design: individual work

The project explored the phenomenological qualities of space, especially the acoustic experiences, through the design of a music therapy + music community centre.

3

<$650 <$650

Site Contexts

Drummon d St ry

Rd

Public &social housing development in Carlton

Often with disadvantaged mental/physical conditions or cannot afford extra-curricular activities (e.g. learn music)

ill

Ne

250m

Kay St

3 min.

500m

5:09pm

St

Elgin St

7:36am 5:58am

750m 9 min.

St Nicholson

250m

Rathdow

125m

Lygon St

0

St

Context Plan

Cardigan

<15

15<30

St

60+ 30<60

ne St

Close proximity to economic areas

Faraday St

View towards the cemetery & no overshadowing to the site

Palmerston St

el

pp

6 min.

8:43pm

St

k St

15.8% 83.2% neighbourhood

Princes St

Site Ce m ete

Extensive PTV network

Brunswic

15.8% 83.2% Dense urban

Large population with low socio-economic status

Ke

The population in the neighbourhood consists of people with middle to low disposable income. There are minority groups, including migrant communities, older adults and university students. Therefore, this music therapy + music community centre aims to unite people through music.

5 in 10 earning <$650 a week 83.2% live in apartments/flats, 15.8% live in houses

Swanston

The site is located in Carlton, characterised by a dense urban neighbourhood. The site is a tip of the triangular block, facing Melbourne Cemetery on the north side and two artery roads.

+$3000

<$650

4

Music therapy

Music

+

Music for community

Music into Architecture Architecture Finding how to interpret and incorporate music in architectural design was a critical challenge.

Rhythm

Melody

Tempo/Time

Defining ‘music’ and its relevance Composition of spaces to architecture allowed the design to be conceptually responding to the nature of the space. On a conceptual term, I attempted to define the key components of the music and Change finding in elevation equivalent words in the architectural language. This is a means to translate the musical experience into the spatial experience - these are the building Module blocks for shaping the space.

Conceptual basis

Rhythm

Composition

Melody

Transition

Tempo/Time Module

Chords

Chord

Verticality

Practical basis Music therapy involves engagement with a person through music or using musical instruments. Through research, it became apparent that the basic needs of a music therapy room are the same as a standard music room. Playing music can be a selfreflective act or in an ensemble. A variation to the room sizes may be a consideration to have. Diversity of the acoustic experiences could also be a factor for the design of the music rooms.

Verticality

5

Shapes of the Sounds Theoretical exploration of how we experience sounds was essential for the project.

Baptistery of St John and Pisa (1152-1363) by Diotisalvi, Nicola Pisano C+D

Sound is transmitted into the air as sound waves. It bounces around a space and is received when it reaches a person. A person feels sound differently depending on space.

C+E C+F C+D C+G C+E C+A C+F

Longer the time C+B it takes for sound C+G to reach back the person, more reflection it passes, C+A and therefore more reverberation experienced. C+B

Reverberation can also depend on internal finishes. However, this project focused on the form of space so that the design can better respond to the spatial composition.

The baptistery consists of two collonades where sounds can travel between. Some sounds bounce off the inner collonade, while others extend to the outer collonade. Farther sound goes, later it comes back to the centre. The resonating chamber above also lets sound wave travel farther as it reflects inside its conical form.

San Juan de Ávila, Alcalá de Henares by Eladio Dieste

The engineered structure using bricks realised the hyperbolic surface—the swells of the brickwork alternate at the bottom half and top half of the wall. The echo in the space is phenomenal as sound waves reflect and scatter in different directions.

Mercado de Santa Caterina by Enric Miralles & Bernadetta Tagliabue

The roof structure consists of a series of vaults which transitions of the widths shape the space with the directionality of the acoustic experience.

6

Mathematical definitions of curves Creating a variation to acoustic experience can be achieved by changing the duration for sound to reach a person. This led me to consider exploring parametric surfaces with varying levels of undulations. Parametric surfaces involve curves. I defined a musical scale using sine curves which represent the sound waves.

đ?’š = đ?’‚ đ?’”đ?’Šđ?’? (đ?’ƒ(đ?’™-đ?’„)) + đ?’… By incorporating sine curves to the parametric surface, the sound wave now travels further as it bounces off curvature. This results in reverberation and a sense of acoustic immersion.

Sounds as sine curves

Paper as a Means of Development C E

Ratios to fundamental equal temperament define the different frequencies of musical notes in relation to one base note (such as C).

G C

Collage using Japanese washi paper

đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™)

đ?’š = đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;?đ?&#x;”*đ?’ƒđ?’™)

đ?’š = đ?’”đ?’Šđ?’? (đ?&#x;?. đ?&#x;’đ?&#x;—đ?&#x;–*đ?’ƒđ?’™)

C+D

đ?’š = đ?’”đ?’Šđ?’? (đ?&#x;?*đ?’ƒđ?’™)

C+E

Exploring textural qualities, transparency and compositions through the application of washi paper of various types

C+F C + D

Adding curves

C + E

Playing music involves multiple notes (such as in chords). The interaction of different notes is expressed by mathematically adding curves.

C + F

đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;?đ?&#x;?đ?&#x;?*đ?’ƒđ?’™) đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;?đ?&#x;”*đ?’ƒđ?’™)

C+D

C + G C +A C + B

đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;‘đ?&#x;‘đ?&#x;“*đ?’ƒđ?’™) đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;’đ?&#x;—đ?&#x;–*đ?’ƒđ?’™)

C+E

đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;”đ?&#x;–đ?&#x;?*đ?’ƒđ?’™)

C+G

C+A

C+F

đ?’š = đ?’”đ?’Šđ?’? (đ?’ƒđ?’™) + đ?’”đ?’Šđ?’? (đ?&#x;?.đ?&#x;–đ?&#x;–đ?&#x;–*đ?’ƒđ?’™)

Folding cartridge paper Experimenting with light and shadows for a sensory experience in the space created by folded paper

C+B

C+G

C+A

C+B Without parametric surface

With parametric surface

Parametric forms using strips of paper Testing out the idea of parametric forms for the envelope of the building and the curved walls of the music rooms

7

Unit of Space Therapy/music rooms have various ceiling heights for different acoustic and spatial experiences.

The form of a therapy/music room is defined as a unit of space. Developed curves are applied to the formation of music rooms in order to create a unique acoustic experience.

These are stacked vertically, creating a vertical structural continuation while allowing them to have plans adapted to the irregular shape of the site.

The ratios of frequency are employed to alter the proportion of the ceiling height, and mathematically manipulated curves form the parametrically transitioning surface (ceiling wall).

+ Ratio of ceiling heights

= Parametric surface

Inside a music room

8

A

Proposed Site Plan 0

3

6

First Floor Plan

Second Floor Plan

12m

B Void

Void

B’

A’

9

Section AA’

0

Seating & access

Vertical circulation

Rooms

Internal garden

Foyer

Space for contemplation, conversation, listening to pop up concerts as well as for access

Staircases located at a narrow, compressed space, creating a light well that emphasises verticality

Light through glass bricks washes the curved walls, varying ceiling heights for the unique acoustic experience

Space filled with light, sit by the flowers and plants while waiting for therapy/music sessions

Glass brickwork creates visual and acoustic thresholds from heavy traffic outside

3

6m

Section BB’

0

3

6m

10

Patch of Habitat Landscape Capstone studio 2019 Semester 2 (3rd year)

Individual work

The project explored the phenomenological qualities of space, especially the acoustic experiences, through the design of a music therapy + music community centre.

11

Densely built urban fabric QUEENSB

The site has a 10m fall from the north-east corner to the south-west corner, and so it is crucial to address it in the design. The water will run down diagonally.

28 27

Ecological heritage

+

SITE

26 25

ST

The memory of the land lives in a place wherever we go, and the landscape is a crucial aspect of the spatial experience that we immerse. The inclusion of the Indigenous flora in the landscape design is a sign of respect towards where we live.

Impermeable hard surface

VICTORIA

BOUVERIE

Topography

29

R ST

Four corners of the site are marked by RMIT Design Hub, the old Carlton & United Brewery, Pixel Building and Queensberry Hotel.

30

LEICESTE

The site is approximately 100 x 200m and surrounded by Swanston St (E), Bouverie St (W), Victoria St (S) and Queensberry St (N).

ST

24

19

20

23

Insufficient vegetation

22 21

H

Focusing on the vegetation and landscape allows this space to be considerate of the existing climatic and environmental conditions while futureproofing the city.

ET ZAB

The site is highly exposed (assuming the condition in 2013) to the sun and winds. Since there are no skyscrapers on the north side of the site, it requires shading strategies.

Site Plan 0

ELI

Microclimate

ST

Responding to climate change

125m

LIN

NK

FRA

ST

12

ST

The project is aiming to create a native landscape in inner Melbourne, taking into consideration the urban water sensitive design and interaction with people.

CARDIGAN

Site boundary

ERRY ST

ST

Concept

SWANSTO N

Site Contexts

Plant Selection + Zoning

Allocation of Zones

Selection of plants was undertaken mainly based on Ecological Vegetation Classes and Bioregion that identify species that existed in the native landscape before colonisation. I incorporated species from other bioregions as a way to build a resilient ecosystem.

Based on the topography, sun exposure and directions of the water runoff, I created ecological zones on the site that have specific environmental conditions. The manipulation of the topography further informed the zoning as it shapes the movement of water.

Circulation & Equal Access The elevated boardwalk is a gesture of respecting the landscape. It secures the continuation of the vegetation and minimises defining boundaries. The ramps connecting throughout the site do not only respond to the substantial topographic fall but also provide a variety of proximity to plants: Lower ramp lets you observe plants. In comparison, the higher ramp gives you a view of the landscape as a whole.

13

FULL SUN/ SEMISHADE DROUGHT TOLERANT

5

ZONE 1 OPEN DRY AREA

4

CANOPY

GROUNDCOVER

3

BLACK SHEAOAK DROOPING SEAOAK RED BOX RED IRONBARK YELLOW BOX WHITE BOX NARROW-LEAVED PEPPERMINT RED STRINGYBARK

COMMON EVERLASTING YELLOW RUSH LILY FLAX LILY WALLABY GRASS KANGAROO GRASS

2 1

QUEE

NSBE

RRY A’

ST

SEMISHADE / SHADED REQUIRING MOISTURE

7 6

30.5

5

ZONE 2 SHADED AREA

28.5

4

GROUNDCOVER/CLIMBER

BLACK WATTLE

CHOCOLATE LILY KIDNEY WEED WEEPING GRASS COMMON TUSSOCK GRASS BASKET SEDGE TWINING GLYCINE

SHRUBS/FERN

3

30

CANOPY

SILKY TEATREE COMMON GROUND FERN ROUGH TREE FERN MAINDENHAIR FERN

2 1

29.5

29.25

29

ST

28.5

4

ERIE

28

NSTO

N ST

BOUV

SWA

18

3

ZONE 3 EPHEMERAL WETLAND / DRY & MOIST AREA

27.5

B

27

2

21.75

GROUNDCOVER

MESSMATE

TALL SEDGE SPINY HEADED MAT RUSH SCALY BUTTONS BRISTLY WALLABY GRASS

HEDGE WATTLE BURGAN

26.5

26

CHARACTERISED BY RIVER RED GUM CONSERVED / PROTECTED VEGETATION

6 5

ZONE 4 ISOLATED PROTECTED AREA

25

B’

CANOPY SHRUBS

1

25.5

18

SEMISHADE TO FULL SUN MOIST & DRY CONDITIONS DROUGHT & WATERLOGGING TOLERANT

5

24.5

4

CANOPY

GROUNDCOVER

3

RIVER RED GUM BURGAN BLACK SHEAOAK RED BOX RED IRONBARK YELLOW BOX WHITE BOX LONG-LEAVED BOX

COMMON EVERLASTING YELLOW RUSH LILY FLAX LILY WALLABY GRASS WATTLE MAT RUSH

2 1

24

23.5

19

23 19.5

20

A

20.5

VICT

21

22.5 21.5

ORIA

ST

0

30

22

5

ELEVATED TIMBER STRIPS EQUAL ACCESS PATHS OPEN DRY AREA SHADED AREA

4

IN BETWEEN ZONE

3 2 1

SPECIES THAT CAN THRIVE IN MULTIPLE ZONES

ISOLATED PROTECTED AREA

Proposed Site Plan

15

60

90m

IN BETWEEN ZONE

BETWEEN ZONE 1 & 2 KANGAROO GRASS HOP WATTLE

EPHEMERAL WETLAND/ DRY & MOIST AREA

DRY SCHLEROPHYLL FORESTS

BETWEEN ZONE 2 & 3

BETWEEN ZONE 1 & 3

WATTLE MAT RUSH LEAFY FLAT SEDGE PRICKLY TEATREE THATCH SAW SEDGE

DROOPING SEAOAK GOLDEN WATTLE SILVER BANKSIA SPIKE WATTLE

WET/DAMP SCHLEROPHYLL FORESTS

WET HEATHLAND

14

SHADING

Mitigating flooring risk by directing water runoff towards vegetation

ELEVATED TIMBER STRIPS

30.5 28.5

Topography controlling water flow

30

TIMBER STRIPS:

SHADING:

LOW & LONG TIMBER STRIPS FOR CIRCULATION

TRANSLUCENT CIRCULATION PATHS

450+ MM & SHORTER TIMBER STRIPS FOR AFFORDANCES (SEATING, LEANING, ETC)

PERFORATED STEEL ON THE EDGES

RAMP (<9M)

29.5

29.25

PERFORATED STEEL LANDING (1000+ MM)

29 28.5

STEEL HANDRAILS

28

Vegetation of varying waterlogging tolerances allocated to respond to the water flow

PERFORATED STEEL EQUAL ACCESS PATHS

27.5

27

Cascading water is absorbed by26.5 permeable ground

TACTILE INDICATORS TIMBER COLUMNS & BEAMS + STEEL TENSION RODS

26

GALVNISED STEEL STUMPS

18

Ephemeral wetland holds the water runoff, prevents overflow of drainage system

25.5

18

WATER ENTRY POINTS

25 21.75

24

LIGHT RAINFALL: WATER MOVEMENT

23.5

19

ON THE PERIMETER OF THE SITE

HEAVY RAINFALL: WATER MOVEMENT

24.5

WET/SWAMPY AREAS

FRAGMENTED PATTERN GAPS FOR VEGETATION

EDGE BRICK PAVING

BRICKS IN VERTICAL STAGGERED BOND

23 19.5

20

Water Runoff Plan 20.5

21

22.5 21.5

0

30

22

60

90m

PATCHES OF MOUNDS SHAPED BASED ON SURROUNDING TOPOGRAPHIC CONTEXTS & VEGETATION ZONING

LANDFORM

VI C TO RI A

SW

S AN

TO

SLOPE ALIGNED TO RMIT FORECOURT

T N S

ST

OPEN DRY AREA

EPHEMERAL WETLAND

OPEN DRY AREA

SEMISHADE AREA

Section AA’

EPHEMERAL WETLAND

OPEN DRY AREA

0

15

30

60

90m

OPEN DRY AREA

SEMISHADE AREA

Section BB’

0

15

30

60

90m

15

Rainy day

Cloudy day

Dry / sunny day

16

3 x 3 x 3 Library Design Studio Delta Conceptual design esquisse (2 weeks) 2019 Semester 1 (3rd year) Individual work

Within an imaginary cube of 3 x 3 x 3m, this project deals with the threshold between the private and semipublic nature of a library.

17

Constraints

How we recognise books

There were two physical constraints:

The conventional representation of books on shelves only offers graphical information about books through spines or front covers.

1. it is located at one corner of a 4 x 4 grid library city 2. it has two fixed portals connected to two adjacent cubes It is my library, but also everyone’s library and walkway.

If one of the uniquenesses of hardcopy books is the form and physicality, bookshelves need to be designed to bring them out.

=

I focused on the link between how we recognise books, movement, and the circulation that informs the spatial composition.

+

Bookshelves here are designed to encompass the axial rotations in x and y directions, responding to the beauty of hardcopy books.

1:20 model

18

Circulation

Bookshelves

Rooftop

Two portals are connected by radiating stairs with landings

Bookshelves are curved and sloping at one end. Angled plates visualise the twisted movement of books

Rooftop is a personal reading space. Bookshelves extend above the roof for private storage

A

A’

Plan 0

Section AA’ 0.5m

1m

0

0.5m

1m

1:20 model

19

Other Works

Hiragana Table

ひらがな ひょう

Characters with unvoiced sound

せいおん の ひらがな

W

Name tag design for fundraising

Hiragana Table & Katakana Table

2020

2019-2020 Total 6 x A3 posters

A campaign for the Australian Youth Band

わに wani crocodile

R

wa [ɰa]

とら tora

ra

[ɾa]

tiger

りす risu

wo [o]

n

/N/

book

mountain

ya [ja]

さる saru

ru

monkey

[ɾɯ]

むれ mure

re

いろ iro

ゆき yuki

yu

[jɯ]

snow

[ɾo]

むし mushi

yo [jo]

night

It is a series of tables of Japanese characters designed for learning Japanese.

Roman alphabet ローマじ English translation えいやく

はな hana

mi

ひと hito

[mʲi]

hi

にく niku

na

たけ take

ni

つち tsuchi

[na]

summer

[ɲi]

meat

[ɸɯ]

fu

いぬ inu dog

[nɯ]

nu

ねつ netsu

ship

うめ ume

me

へい hei

he

ねこ neko

ne

てら tera

mo

ほし hoshi

ho

つの tsuno

no

とり tori

[me]

もり mori

[mo]

forest

fence/wall

[he]

[ho]

star

[ne]

cat

[no]

horn

[ta]

chi [tʃi]

soil

ふね fune

S

ta

bamboo

mu

しか shika

shi

つき tsuki

[ʃi]

deer

a

[sɯ]

su

くま kuma

te

せみ semi

se

いけ ike pond

[ke]

to

そら sora

so

こい koi

[se]

cicada

[so]

sky

R

wa [ɰa]

Writing: each stroke is colour-coded.

ライト raito light/right

リンス rinsu conditioner

Stills from the campaign video clip

ke

いえ ie

ko

おと oto

[ko]

romance

The stroke order かきじゅん

うみ umi

I

i

[i]

chair

ku

[kɯ]

bear

U

u

[ɯ]

sea

E

e

[e]

house

O

o

[o]

sound

This table has been designed for anyone who have interest in Japanese. Any reproduction or redistribution of part or all of this work is strictly prohibited for commercial purposes, but please feel free to share this with anyone for learning Japanese. I’d really appreciate if you could leave a comment on my blog: s719244.wordpress.com

Phonetic alphabet はつおん きごう

2nd

1st

3rd

4th

5th

6th

For any inquiry, please contact me via email: hi.sarankim@gmail.com

Katakana Table

カタカナ ひょう W

wine

Speaking: vowels and consonants on vertical and horizontal axes for identifying sound.

いす isu

A

a

[a]

autumn

© 2019 Saran Kim All Rights Reserved.

ワイン wain

$1 of each tag covered materials, and I achieved to raise over $170 for the band.

ki

[kʲi]

moon

Characters with unvoiced sound

せいおん の カタカナ

Using: each character has a word, its meaning and an illustration for easy memorization.

あき aki

Hiragana Table poster (1 of 3)

It aims to assist learners with:

It invited people to purchase name tags for their suitcases or instrument cases, which price became the donation.

ka [ka]

umbrella

sushi

[to]

bird

かさ kasa

すし sushi

[te]

temple

sa [sa]

morning

-

tsu

[tsɯ]

heat

あさ asa

K

Roman alphabet ローマじ

[a]

autumn

なつ natsu

[çʲi]

person

Hiragana character ひらがな あき aki

ha [ha]

flower

T

[mɯ]

A word that uses this character この ひらがなを つかった ことば

This fundraising campaign was for the Australian Youth Band, where I’m involved in as a percussionist.

ma

N

insect

plum

よる yoru

H

[ma]

beans

road/path

[ɾe]

ro

colour

まめ mame

みち michi

ri

crowd/flock

ほん hon

やま yama

M

[ɾʲi]

squirrel

*direct object particle

Y

*direct object particle

wu [o]

メール mēru

bread

n

/N/

ra

[ɾa]

ru

レンジ renji

re

kilometre/ kilogram

diamond

ya [ja]

ユーモア yūmoa humor

yu

[jɯ]

[ɾo]

yacht

yo [jo]

English translation えいやく

ma

ハンガー hangā

mi

コーヒー kōhī

keshigomu

mu

フライパン furaipan

[mʲi]

eraser

[mɯ]

メロン meron

me

メモ memo memo

hanger

coffee

アイス aisu ice cream

a

[a]

ha

ナイフ naihu

hi

テニス tenisu

[ha]

na

タイヤ taiya

ni

チーズ chīzu

[na]

knife

[çʲi]

T

[ɲi]

tennis

tire

cheese

[ɸɯ]

fu

カヌー kanū canoe

[nɯ]

ヘルメット herumetto

he

ネクタイ nekutai

ne

テント tento

ho

ノート nōto

no

トイレ toire

[me]

helmet

mo

ホテル hoteru

[mo]

N

frying pan

hotel

Katakana character カタカナ

A word that uses this character この カタカナを つかった ことば Roman alphabet ローマじ

けしゴム

melon

ヨット yotto

H

microphone [ma]

sewing machine

[ɾe]

ro

マイク maiku

ミシン mishin

ri

[ɾɯ]

キロ kiro

ダイヤ daiya

M

[ɾʲi]

(e)mail

microwave

パン pan

Y

[he]

nu

necktie

[ho]

[ne]

[no]

note

スーツ sūtsu suit

tent

toilet

S

ta

サラダ sarada

chi

シーツ shītsu

[ta]

[tʃi]

salad

bed sheet

K

sa

カード kādo

shi

キス kisu

[sa]

[ʃi]

kiss

ka

アイス aisu

ki

イギリス igirisu

ku

ウール ūru

[ka]

[kʲi]

ice cream

UK

tsu

スキー sukĪ

[sɯ]

su

クラス kurasu

ski

te

セール sēru

se

ケーキ kēki

[ke]

ke

エッセー essē

cake

to

ソファー sofā

so

コース kōsu

ko

オイル oiru

[tsɯ]

[te]

[to]

sale

sky

[se]

[so]

The stroke order かきじゅん

class

course

[kɯ]

[ko]

wool

essay

oil

A

a

[a]

i

I

[i]

U

u

[ɯ]

E

e

[e]

O

o

[o]

This table has been designed for anyone who has an interest in Japanese. Any reproduction or redistribution of part or all of this work is strictly prohibited for commercial purposes, but please feel free to share this with anyone for educational purposes.

Roman alphabet ローマじ Phonetic alphabet はつおん きごう

card

-

I’d really appreciate if you could leave a comment on my blog:

sarankim.art

1st

Katakana Table poster (1 of 3)

2nd

3rd

4th

5th

6th

For any inquiry, please contact me via email: hi.sarankim@gmail.com © 2020 Saran Kim All Rights Reserved.

20

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